Hong Kong Palace Museum | The Hong Kong Jockey Club Series: Treasures of the Mughal Court from the Victoria and Albert Museum

8000. Exhibition introduction

Between the 1560s and the 1660s, the Mughal dynasty (1526–1857) in South Asia experienced its “golden age” as one of the world’s most powerful imperial families at the time. This century witnessed the reigns of three remarkable emperors: Akbar (r. 1556–1605), his son Jahangir (r. 1605–1627), and his grandson Shah Jahan (r. 1628–1658). This exhibition celebrates the extraordinary artistic achievements of the Mughal dynasty, focusing on the roles of the three emperors in shaping and developing the rich and diverse artistic traditions of the court, where cultural elements from South Asia, China, Iran, Europe, and beyond converged.

The Mughals were a Muslim, Persian-speaking dynasty. Their first emperor, Babur (r. 1526–1530), was descended from both Amir Timur (r. 1370–1405), the Central Asian conqueror, and Genghis Khan (r. 1206–1227), the founder of the Mongol dynasties. Babur’s dynasty became known as “Mughal”, the Persian for “Mongol”.

This exhibition is jointly organised by the V&A and the Hong Kong Palace Museum, and is solely sponsored by The Hong Kong Jockey Club Charities Trust. Approximately 100 spectacular loans from the V&A Collection, supported by loans from Kuwait, UK, and other international collections, range from paintings to jewellery, architectural fragments, weaponry, textiles, and ceramics. The Hong Kong Palace Museum, the Chris Hall Collection at the Hong Kong Palace Museum, and the Collection of Mengdiexuan also provide important loans.

8001. Taj Mahal: A Love Story in a Majestic Monument

The Taj Mahal, commissioned by Emperor Shah Jahan in the 17th century, is a prime example of Mughal architecture. It is popularly recognised as one of the “new” Seven Wonders of the World. Celebrated for its perfect symmetry and exquisite craftsmanship, the Taj Mahal is both an architectural marvel and a monument to love, built in memory of his beloved empress, Mumtaz Mahal.

In this immersive space, two objects are associated with the Taj Mahal. One is a detailed watercolour drawing of the cenotaphs of Shah Jahan and Mumtaz Mahal, showcasing intricate marble inlay designs that capture the idea of a paradise on earth. The other is an openwork screen similar to those found in the Taj Mahal. The screen’s geometric floral designs filter light and air while preserving privacy.

8002. Emperor Akbar being entertained by Azim Khan at Dipalpur in 1571

This painting depicts a scene of Emperor Akbar being entertained. Akbar’s robe features highly intricate decorations. The throne, crafted from gold and inlaid with precious gems, sits beneath a finely embroidered canopy, signifying imperial grandeur. Around Akbar are carefully arranged gold vessels, symbolising Mughal power and wealth.

Known as a visionary patron of the arts, Akbar brought together artists and craftsmen from diverse backgrounds and established new court workshops. He commissioned large-scale manuscripts, such as the Akbarnama, meaning the Book of Akbar, to chronicle his achievements. This painting is an illustration from the Akbarnama. Akbar’s openness to influences from Iran, China, and Europe helped shape a rich visual language that laid the foundation for a distinctive Mughal style.

8003. Altar table with flowers and plants in pots and vases

This 16th-century Chinese altar table is a testament to the exquisite art of mother-of-pearl inlay, where delicately shaped shell pieces are masterfully embedded in lacquerware. The contrast between the black lacquer and the luminous white shell amplifies the visual impact of the design. The potted flowers, inspired by traditional Chinese ink paintings, reflect the integration of fine art into decorative objects. Intended for indoor display, such tables were commonly used in elite households.

Around the same time, similar mother-of-pearl inlay was also seen in luxurious furniture collected at the Mughal court. The cabinet displayed next to the altar table features symmetrical floral and geometric patterns, designed primarily for travel and trade. Despite stylistic and functional differences, both cultures shared a deep appreciation for the craftsmanship and beauty of mother-of-pearl.

8004. Thumb ring

Worn by royals or elites, thumb rings made of precious materials were a status symbol in the Mughal court. Look at the craftsmanship of this gold thumb ring, set with rubies and emeralds. The enamelled interior was a European design. The exterior features a special regional technique, in which vibrant gemstones are set in place with highly refined pure gold. The fusion of foreign and regional techniques helped shape the Mughal dynasty’s distinctive style.

8005. Emperor Jahangir in a garden

This painting shows Emperor Jahangir surrounded by members of his court. Look closely at the clothing, the figures are identified by the inscriptions in Persian, which was the Mughal court’s official language, subtly integrated in their clothing.

Jahangir inherited a relatively stable and prosperous dynasty from his father, Emperor Akbar, which allowed him to pursue his personal interests, particularly in rare objects and the natural world. Inspired by European botanical illustrations, he commissioned artisans to render various flowers realistically.

8006. Ram’s head dagger

This ceremonial knife features a steel blade with a crystal handle shaped like a ram’s head, adorned with gold and ruby eyes, set using a special goldsmithing technique unique to the region. This technique makes good use of the malleable property of pure gold, which is soft enough to mould under pressure to secure precious stones in place.

Such weapons were not intended for combat but were crafted for ritual use or given as gifts of honour by the emperor to denote promotion or recognition. Decorative arms like this were a component of official dress at the Mughal court, signifying rank and proximity to the emperor.

8007. Emperor Shah Jahan holding an emerald

This painting depicts Emperor Shah Jahan in profile, a format that reinforces a sense of distance and majesty. A radiant halo surrounding his head projects divine authority- an artistic device drawn from both South Asian and European religious imagery.

The carved emerald in his hand, from Columbia, reflects the Mughal court’s vast network of economic, diplomatic, and cultural exchange that flourished during his reign.

8008. Wine cup

This exquisite jade cup represents the peak of Mughal jade craftsmanship in the reign of Emperor Shah Jahan. Court workshops elevated the craft of carving hardstones to new heights. Nephrite jade, sourced from northwestern China, was highly valued for its durability and smooth texture. The Qianlong Emperor of the Qing dynasty in China was captivated by Mughal jades, particularly their intricate low-relief vegetal decorations and luminous surfaces.